Tuesday, June 15, 2010

Shutter Island (2010)

Like all Martin Scorsese pictures, his newest, Shutter Island, is chiefly about sin. How it helps to define the human condition, how it affects the protagonist in life and the detrimental value it has to the eternal soul. Catholic filmmakers have varying ways of addressing sin and most pointedly guilt—but Scorsese's pictures are laced with it like a poisonous substance hidden in a cinematic tonic. As he has aged, Scorsese's films have become increasingly somber in tone. No longer is the rabidly gnawing theme allowed to remain a largely unspoken undercurrent beneath the characterizations and their journeys but it has emerged, front and center, as the monstrous entity meriting its own blunt manifestation. Consequently, Scorsese's films have become ostensibly more garish, brassy and intentionally meretricious. Whether it be an aging Scorsese's shift into the darkest underbelly of city life juxtaposed with deeply religious iconography and sacrificial angst (Bringing Out the Dead); his personifications of brutish, unforgiving violence (Bill the Butcher in Gangs of New York); or Satanic depravity and unyielding narcissism (Frank Costello in The Departed)—the latter of whom are each allowed to be viewed as seductive demons with Jack Nicholson's gangster explicitly uttering, Non Serviam, a quote directly from James Joyce's own embodiment of Satan; or the despairing madness of Howard Hughes partly viewed through the prism of masculine dominance over the female (The Aviator).

Scorsese characters have tended to mature with him. From the perplexing sexual frustration of Who's That Knocking at My Door? to the feral screaming and yelling of Mean Streets serving as backdrop to prayerful hope to the inchoate, raving ramblings of Travis Bickle in Taxi Driver, Scorsese's principal characters now speak of the decay and rot of civilization (Gangs of New York), are once-in-a-lifetime inventive eccentrics (The Aviator) and judiciously quote Joyce and Nathaniel Hawthorne (The Departed). To take on two of Scorsese's mobster odysseys, Goodfellas and Casino, part of the fun is recognizing the punchline about two hours before the characters do: what they are engaged in cannot last forever, and they will, to quote Scorsese himself concerning the former, “pay and pay and pay.” Goodfellas remains a compelling gangland tale not because any character voices his innermost unease—here Scorsese's characters remain frustratingly standoffish and deeply insecure with themselves, telling (through voice-over) the details of their myriad crimes and underworld schemes but never letting on that they wish they had changed something about themselves rather than the simple, unfortunate details. (This is probably because the characters are sincere. Henry Hill's final address to the audience is unconcerned with forgiveness or genuine remorse. It's actually a pathetic cry of self-pity.) Casino, openly more grand and operatic as early on as its opening credits (again, not coincidentally Bach's "Passion According to St. Matthew") before which the protagonist is engulfed in hellish flame, operates similarly, though the visual and musical motifs are more robustly signposting ruin and damnation. The 1995 picture's tagline, “No one stays at the top forever,” is quite the understatement.

Just as Jewish artists become more concerned with Jewish questions as they age (for two current American examples, the Coen brothers and Steven Spielberg), Scorsese's admitted fixation on religion and his Catholic faith has found itself increasingly naked within his films. The Last Temptation of Christ posited the question of Christ's divinity as a kind of test. And that is most fitting: Scorsese's films are tests, and he is most comfortable in letting his characters fail because Catholic teaching demonstrates that we all fail. That is a most sobering realization, demanding stringent acceptance, and it is unsurprising that Scorsese's films have only become more consumed by this as the consummate filmmaking artist becomes an older man. With Shutter Island, Scorsese approximates the late Catholic, Alfred Hitchcock, as well as the horror “B movies” produced by Val Lewton. Scorsese produced and acted in the 2007 documentary, Martin Scorsese Presents: Val Lewton—The Man in the Shadows and his appreciation for the films shepherded by Lewton and directed by such noted stylists as Jacques Tourneur and Robert Wise is heralded by Shutter Island. The film is a kind of melange of eerie horror, suspenseful film noir and psychological drama with Scorsese's own fascinations embedded throughout. Based on a Dennis Lehane novel of the same name, Scorsese stays only too faithful the the original source material (much more on this later), but provides the visual palette with a richly-defined atmospheric dread that seems all his own. Imitating the stark black and white cinematography of such noted directors of photography as Nicholos Musuraca in numerous “grade-B” cult classics, Scorsese and his cinematographer Robert Richardson etch a color scheme that is riddled with sinister shadows, unsettling silhouettes and the disorienting contrast between characters' flesh-colored faces and the gray, nubilous backgrounds. Almost jarringly, this aesthetic is bracingly layered under an epical emulation of the works of Michael Powell and Emeric Pressburger in the skyward fantasias: in particular, a cliff sequence recalls Black Narcissus almost impeccably.

Shutter Island is said to be, at its heart, a genre piece, but that term becomes more of a self-contained statement of compromise than anything else. Scorsese is not so timid as to avoid linking his “genre piece” to Hitchcock, Lewton, Merian C. Cooper (Shutter Island's opening involving a fog-shrouded ship approaching an eerily beckoning island cannot help but remind the viewer of another favorite classic of the director's), Scorsese favorite Samuel Fuller and Robert Aldrich (the picture's specific plot points to Fuller's Shock Corridor and the comments concerning red-baiting and fear of hydrogen bombs from insane patients echoes similar concerns as Fuller and Aldrich's Kiss Me Deadly). If films by those and other helmers can be more rigorously appraised than merely labeling them a “genre piece,” surely Scorsese's imitation of same can be surveyed in similar fashion. Scorsese is something of a cinematic extremist, which can yield diverse reactions in an audience when he is approaching an ostensibly more traditional canvas of content (all that has to be read is the basic plot synopsis and suddenly every imaginable suspense/mystery- and horror-tinged Hollywood trope presents itself: spooky island, hurricane, mental asylum, a missing woman, a possible neo-noir conspiracy). Shutter Island's opening is so deliciously old-fashioned—hardly a better term exists for it—with the terse, hardboiled dialogue with deliberate, hair-raising beats (Mark Ruffalo's Chuck: “All I know is it's [the complex on the island they are approaching by ferry] a mental institution...” Leonardo DiCaprio's Teddy lets the words soak in, squints as he wrestles with his cigarette and chimes in for sheer effect: “For the criminally insane....”). This is linked to the most shamelessly ominous, drumming thriller score for a major Hollywood picture made by an A-list filmmaker this side of a Spielberg-John Williams collaboration—here, Scorsese and famed songwriter and singer for The Band, first documented by Scorsese's 1978 rock show documentary The Last Waltz, Robbie Robertson, go all out, complementing the foghorn of the vessel in the opening seconds of the film with ascending French horns adorning Ingram Marshall's marvelously piquant and frightening “Fog Tropes.” The picture is bursting at the seams with ingenius musical inclusions of such noteworthy artists as John Adams, John Cage, Morton Feldman, Gyorgy Ligeti, Lou Harrison, Alfred Schnittke, Max Richter, Nam June Paik and Giacinto Scelsi, as well as Brian Eno, Mahler and Dinah Washington (for the end credits). Though scoffed at as being excessively melodramatic, the score and soundtrack of Shutter Island are no more inappropriate or distancing than the Penderecki-influenced Jonny Greenwood score for There Will Be Blood. Some critics have perhaps misjudged the extent to which Scorsese and his collaborators (Robertson, Richardson and longtime Scorsese editor Thelma Schoonmaker) have gone in attempting to not merely imitate but recreate the pounding psychological barrage of sight and sound filmmakers of the era depicted (mid-1950s) sought to create in their time.

Scorsese has long named Orson Welles and John Cassavetes as two directors who inspired him the most. This paradoxical appreciation of the respectively robustly theatrical and the sincerely quotidian means of presentation has long found itself deep within Scorsese's canon. What makes Scorsese's more propulsive pictures rather outstanding is the way in which he celebrates the artifice of filmmaking itself. This most increasingly rare celebration of filmmaking finds itself compactly molded into each sequence and sometimes each frame of a Scorsese picture. This Hitchcockian adulation of artifice and artificial cinema creates an immediately more meta reading of Scorsese's films. The viewer may not be gasping when a police captain falls to his death in The Departed—he may be counting the X's and chuckling at the connection to the Howard Hawks gangster saga Scarface, which, with its sheer animalistic ferocity, can be seen as a clear precursor to Scorsese's own mob chronicles. Likewise, when Shutter Island's psychologically and sensorially wracked protagonist hurriedly ascends a lighthouse's spiral staircase, the viewer may not be entirely wrapped up in the moment of the plot's winding down, but rather note how the lighthouse serves as firstly ominous location, secondly as a tangible goal for the hero's journey narrative, thirdly as a thematic pun, particularly in how the mysteries locked away inside are to shed light on the protagonist's sacred quest and fourthly as the venue in which Scorsese recreates the final climax of Hitchcock's Vertigo, also about a deeply troubled man haunted by guilt and subconscious yearning to spiritually self-immolate while apparently searching for all of the answers of his own entrapping conspiracy; meanwhile, the spiral staircase itself is a reminder of director Robert Siodmak and his atmospherically gothic mystery The Spiral Staircase while creating the same physical and spiritual ascension to answers that Hitchcock engendered for Vertigo's conclusive movement.

Shutter Island's underlying theme resonates as a Scorsese motif unto itself. DiCaprio's Federal Marshall, Teddy Daniels, is, according to one of the more sinisterly-depicted doctors of the institution, Doctor Naehring (Max von Sydow, once again playing a German immigrant), a “m[a]n of violence.” This common Scorsese archetype wedded to the director's obsession with guilt finds itself at the center of Shutter Island, but in the case of the actual plot, serves as a kind of running joke (of the dark-humored variety) tying in with the realities of the picture's climax. Though some of the connections may be overtly artificial, it is not invalid to pursue what certain details mean in Scorsese's oeuvre. Teddy, like Travis Bickle, is a veteran of war. The wartime experiences of Teddy are narratively drawn out by the inclusion of a Mahler record. Scorsese's own flourishes are vivid and reminders for later on when the viewer attempts to appreciate the picture a second time, of how subjective memories truly operate. (For two examinations for how vitally subjective sensorial memory plays out when beautifully rendered through recent cinema, Eternal Sunshine of the Spotless Mind and Tetro are suitable excursions into not entirely dissimilar territory.) What Scorsese recognizes is that the mind thinks and remembers in cinematic fashion (and to accommodate the haphazardness of the mind, Scorsese fractures the backstory flashback narrative, since, unlike film, memory does not unspool from beginning to end in perfect linear fashion). A row of Germans is mowed down at the Dachau concentration camp, and Scorsese's camera follows in one of his usual tracking shots, as each guard is killed in nearly flawless right-to-left order (for the American soldiers). Is this an artistic flurry or commentary on the lack of realism? One of the admittedly enjoyable aspects of Shutter Island is that its plot, characterizations, usage of flashbacks and even the memorable final sequence stir debate and questions as to what is real (in the context of the film, since none of it is actually real, to paraphrase Brian De Palma's editorial on cinema) and most importantly what is intended. How much of the picture's facade is directly tied to the mechanics of the plot—sometimes rewarding (such as a couple of cute cutaways to a character who's “in on it” all along while being spoken of by a mental patient questioned by another character), sometimes dubious at best (the entire premise, without being too liberal in how Lehane's narrative resolves itself, is ultimately a less convincing and vastly more earnest variation on William Peter Blatty's The Ninth Configuration)—and how much of it is simply part and parcel of Scorsese's filmic auto-critique on film?

Lehane's novel is honestly one of his better offerings, and it is not difficult to see why Scorsese would be attracted to the material. The novel is intrinsically cinematic, with many potentially juicy visuals for the big screen, and it more than dabbles in Scorsese's aforementioned concerns of masculine violence and exhausting guilt. Scorsese gifts Lehane's clumsier bits and pieces with a gracefulness, and condenses much of what needs to be condensed: Michelle Williams as DiCaprio's deceased wife haunting him dreams is probably the most pointed example of both improvements, and the way in which Scorsese shoots her, from her demise into ash that blows away in Teddy's longing arms to mimicking the famed Vertigo sequence by panning the camera around DiCaprio and Williams ala James Stewart and Kim Novack. The beautifully-rendered interweaving of Teddy's concentration camp experiences with his long destroyed domestic life to the case he is working on at the institution in an extended dream sequence is disconcertingly jarring and authentic to the way in which the mind constructs epic settings for symbolic chimeras to sometimes run amok. One character has himself created a monster responsible for a most heinous crime. The figure is a grievously scarred, terribly ugly embodiment of all that represents wrongdoing to the character who has created him. The screenplay by Laeta Kalogridis includes cutting comments by at least two inmates whose insanity may make them perversely more sane than others: they are horrified by the reality of the hydrogen bomb. And the unnamed warden of the mental institution, played by Ted Levine, is given a chilling speech about Teddy's violent tendencies and the violence of God (exemplified by a devastating hurricane storm on the island). The warden's comment that he and Teddy have “known each other for centuries” posits the picture's weightier delineation between violent men on possibly opposing sides. The warden's remarks that the only moral order is, “Can my violence overcome your violence?” ties in with Teddy's earlier statement that the warden looked like an “ex-military prick,” reestablishing the correlation between the role of the military in conditioning men of different times in different wars like Teddy and Travis, to countless late '40s and early '50s film noir protagonists, into creatures of violence. (Max von Sydow's Dr. Naehring offers the difference between referring to Teddy and Chuck as “men of violence” and calling them plainly “violent men.”)

Shutter Island is home to numerous solid performances. DiCaprio is a pleasure to watch for most of the film, in part because his patina of innocence serves as a suitable contrast to the picture's generally gloomy mood and environs. Mark Ruffalo is perfectly cast as Chuck, and he is as adapt as any current Hollywood actor at playing roles in a straightforwardly naturalistic way. Here, Ruffalo reminds of an early 1950s Dana Andrews. Perhaps more importantly, in the case of Chuck in Shutter Island, a novel and motion picture leave a character underdeveloped for an important reason. A certain early scene in which DiCaprio eyes Ruffalo's handing of his sidearm provides the groundwork for their chemistry as actors and characters throughout the rest of the picture while touching upon Scorsese's more blunt approximation of the gun as masculine phallic symbol. Ben Kingsley as Doctor Cawley is a case of an actor being almost too well-cast in a certain role. Patricia Clarkson acts up a storm as a red herring character whose primary function is to provide a fairly provocative retelling of Plato's Allegory of the Cave while cranking up the viewer's senses of paranoia. Emily Mortimer has a standout scene that plays out quite differently depending on the context of the quantity of the viewer's acquired information (several performances, including a brief visit by Jackie Earle Haley, fall under this classification in Shutter Island).

Most troublesome is predictably the picture's protracted explanation-laden denouement. The voluminous, tiring expository feels decidedly mechanical, as though Scorsese himself is almost gritting his teeth at the alleged necessity of it. That the film struggles in aping the novel at this juncture comes as no surprise at first, though Scorsese does rebound with reasserting a visually rewarding aftertaste involving the final flashback's staging, and optically rendering the stinging reality of Teddy's identity. Scorsese's most disconsolate films always end on one last, final, excellent statement, and here Scorsese finds his best, most natural and memorable coda since The Age of Innocence saw Daniel Day-Lewis's Newland Archer found himself utterly forceless and feckless, unable to muster the slightest measure of resistance to his fate. Ruffalo initially steals the scene with a powerful head movement that resonates long after the final credits. Yet DiCaprio's best line of the entire picture is saved for last, and its evident duality plays to the ambiguousness of his condition as the film's running time expires. Is he, like Jake La Motta in Raging Bull, beyond all hope, wounding himself as surely over and over as the boxer piteously did in one of Scorsese's most iconic scenes? Or is he following an epiphany and pursuing it through a zealous martyr's conviction?

Whether or not Shutter Island succeeds in its key goals is up for the viewer to decide, as with any film, but at least the Scorsese picture feels like new ground for the filmmaker. The Departed was understandably chided by some as a kind of “leftovers” picture for Scorsese, and his previous two films were deemed by many as vaguely empty lunges at Oscar's approval for decades of great filmmaking (ironically, it was the “leftovers” movie-movie that gifted Scorsese with his long-elusive Oscars for Best Director and Best Picture). All of those films, however well-crafted, did not seem to boast much in the way of artistic progression for their creator. While Shutter Island is itself a contradiction of sorts—a movie-movie on the surface that is actually a formal genre exercise, an outwardly “minor” work that nevertheless recalls some of Scorsese's most personal works such as the ethereal parable Bringing Out the Dead—there is an unmistakable joyfulness to watching it, even if it comes with the knowledge that it is flawed. Whether one wishes to see the institution's various wards as Scorsese's meditations on Giovanni Boccaccio's The Decameron with its almost bitingly caustic manner in which each level of the asylum's heirarchy is depicted like medieval avatars of the church (which would follow with the film's essaying of science—psychiatric as well as physical, in the overpowering of mind and population with psychopharmacy and hydrogen bombs—as the twentieth century's religion); the fetishization of Scorsese's leading man for the umpteenth time (Scorsese's specifically Catholic linkage between the spirit and the flesh finds expression in both the ritualized disrobing of the male protagonist and also, as in the 1991 remake, Cape Fear, iconic Christian tattoos reappear in one of Shutter Island's more disturbing sequences upon the back of a Ward C “patient”); to Scorsese's establishing of Teddy's images of his deceased wife to correlate with the “Scorsesean” trope of the whitely “virginal” femme prototype (arguably complemented by the wife's pallid, almost ghostly complexion); to simply creating a film his long-ago cinematic shepherd, Roger Corman, would admire and be proud of, Shutter Island is at least indicative of a director taking a step forward and reaching back to his roots, all at once.

209 comments:

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Anonymous said...

one of robert deniros best roles

Ténèbres à la lumière... said...

Hi! Alexander Coleman,
Glad to see you back and in good "writing" form -- Alexander, I will return later and read your review and comment on the film Shutter Island.
DeeDee ;-D

Craig Kennedy said...

Happy to see a weighty treatment of the underrated Shutter Island, a film I found flawed yet oddly invigorating. It's as though Scorsese found the freedom to really express himself and experiment a bit within the confines of a genre picture.

I've been meaning to rewatch this one, but still haven't gotten around to it.

Anyway, welcome back Alexander.

the cinema guy said...

Mr. Coleman,

Wonderful to see you back here and writing another superb essay... I happen to agree with your take in full. I am absolutely not a fan of Scorcese's work post Casino, but actually found Shutter Island to be shockingly different from the action cartoons passing as crime and historical dramas or the "big", empty-headed biopics that have marked some of his recent work... You make so many wonderful points and referneces here that I won't even try to point them all out... I am usually not a fan of the horror/ ghost/ psychological thriller genre, but as you rightly pointed out this one is something more... As Lehane is nothing if not a Catholic writer, and Scorcese (like Bresson and others) a simliarly Catholic filmmaker, you quite rightly stress this fact as that sensibility pervades every aspect of the film... DiCaprio is more believable here then he was as a tough guy in the woefully overrated The Departed (though his performance was still good), and as a side note as atrocious as most of the Boston accents were in that film (DiCaprio's was inconsistent but not awful) they are actually quite solid in Shutter Island, with DiCaprio making big improvements in this area, a testament to his dedication as an actor... As DiCaprio ages he is becoming more believable in these roles, the age lines and extra weight contributing to him not looking like a teenager playing grownups anymore... Don't mean to overstate regarding the quality of Shutter Island as I don't think it approaches being a great film, but given Scorcese's recent output it was a surprising treat and I believe you managed to brilliantly capture its essence.

Tony D'Ambra said...

Hi Alexander. I am late to this post, as I came over on the off-chance.

Wow, I had forgotten how penetrating an analyst you are. While I was less than enthralled with this movie, you certainly make me question my attentiveness, and you mount a vigorous and wide-ranging argument for the film's merits. My immediate view was that it's strength was in the editing, and that the direction was self-conscious.

Welcome back!

Sam Juliano said...

I had no issue myself with the 'guilt laden denouement' as I stated in several lenthy comments at various blogsites when the film released, but I know that's a bone of contention with a number of people. As we near the half-way point, I still consider SHUTTER ISLAND as one of the year's best (and certainly one of the most entertaining) films, sitting alongside UN PROPHETE, MADEMOISELLE CHAMBON, WINTER'S BONE DOG POUND, HOW TO TRAIN YOUR DRAGON, VINCERE and BLUEBEARD. It's a film that's uses weather to externalize it's action, and it boasts some delicious atmospheric set pieces, and inspired supporting performances.

Very fine comeback review here!

Who Is Afraid of Alfred Hitchcock? said...

Hi! again, Alexander...
All I can say is that I had to return in order to read the second half of your review...Mama Mia (As I slap my cheekbones...(your review) read like a novel.)

Alexander, I have two things to say about the first half of your review...
First of all, What a great "overview" of director Martin Scorsese's films...
and
Secondly, What an interesting "mini textbook lesson" in covering films made by one director.

Thanks, for sharing!

Now, I plan to address the second half of your review of Martin Scorsese's film...
... Shutter Island.
Cont...

Who Is Afraid of Alfred Hitchcock? said...

Bonjour! Alexander,
First, and foremost I have to thank, Sam Juliano, for sending me a copy of the film Shutter Island.
(After viewing the film I'am so "happy" that he did send me a copy of the film.)

Alexander, your mentioning of Hitchcock, Fuller, Aldrich, Lewton, and Musuraca
Who work that you think Scorsese,"imitated" to a certain extent" as mentioned in your review...Just confirmed my own belief that Scorsese's Shutter Island can easily be placed in the neo-noir category.

The following quote...
..."What happens when Martin Scorsese, the master of personal, gritty, nuanced filmmaking decides to make a schlocky, B-movie-style, psychological thriller? You get a delicately constructed, multi-layered ode to the classics of Hollywood cinema, of course. Hitchcock, Kubrick and all the greatest elements of the noirs and suspense pictures of the 1940s and 50s are on full display in “Shutter Island.”

...is what one of the writers, from my blog had to say about Scorsese's Shutter Island

(Which of course is based on Dennis Lehane novel of the same name...and that novel of course have been sitting on my bookshelf for close to three month now still waiting to read.)

...And after reading his (my writer) review my curiosity was piqued immediately. Therefore, I was very happy to get my hands on a copy of the film Shutter Island too.

Very carefully, dissecting...Alexander's words...

Alexander said,"Shutter Island is said to be, at its heart, a genre piece, but that term becomes more of a self-contained statement of compromise than anything else."

Alexander said, "Scorsese is not so timid as to avoid linking his “genre piece” to Hitchcock, Lewton, Merian C. Cooper (Shutter Island's opening involving a fog-shrouded ship approaching an eerily beckoning island cannot help but remind the viewer of another favorite classic of the director's),

Scorsese favorite Samuel Fuller and Robert Aldrich (the picture's specific plot points to Fuller's Shock Corridor and the comments concerning red-baiting and fear of hydrogen bombs from insane patients echoes similar concerns as Fuller and Aldrich's Kiss Me Deadly).

If films by those and other helmers can be more rigorously appraised than merely labeling them a “genre piece,” surely Scorsese's imitation of same can be surveyed in similar fashion.

..."With Shutter Island, Scorsese approximates the late Catholic, Alfred Hitchcock, as well as the horror “B movies” produced by Val Lewton..."

Scorsese stays only too faithful to the original source material (much more on this later), but provides the visual palette with a richly-defined atmospheric dread that seems all his own.



Alexander, I can in all honesty...concur with you, and all of your comments that I quoted and pointed out above...as I reread and "picked" apart your review again.

Alexander said,"The film is a kind of melange of eerie horror, suspenseful film noir and psychological drama with Scorsese's own fascinations embedded throughout."

Exactly...

Finally, Alexander said,"Roger Corman, would admire and be proud of, Shutter Island is at least indicative of a director taking a step forward and reaching back to his roots, all at once."

Alexander, I have to take your word for it that director Martin Scorsese, is taking a step forward
and reaching back to his root...because I have only watched three of his films.

I must rectify that somehow...I wonder if he (Scorsese) have a boxset on the market yet?


Anyways, thank-you, for sharing a very insightful, a very detailed and ("carefully dissected") review of a film that I decided like Hitchcock's Vertigo will require successive viewing to be truly understood and appreciated (more so) too.

Merci,
DeeDee ;-D

Film-Book dot Com said...

Thank God you reviewed Shutter Island Alexander. I have been waiting for someone to chew on the fibers of this film. Oh and welcome back…again.

“Scorsese's films are tests, and he is most comfortable in letting his characters fail because Catholic teaching demonstrates that we all fail. That is a most sobering realization, demanding stringent acceptance, and it is unsurprising that Scorsese's films have only become more consumed by this as the consummate filmmaking artist becomes an older man.”

The catholic angle of this film missed me completely. I saw them but they didn’t register.

“The film is a kind of melange of eerie horror, suspenseful film noir and psychological drama with Scorsese's own fascinations embedded throughout.”

Scorcese does horror better is minute, facial close-up than an average director can produce in an entire film of splatter gore e.g. Pale white skin, ethereal light shining down, cunning, knowing look in the eyes, smile on the face: “He never left.” Beautiful and unsettling.

“Scorsese approximates the late Catholic, Alfred Hitchcock, as well as the horror “B movies” produced by Val Lewton.”

Many people referred to this film as a B movie in their reviews. I didn't know why until I actually saw the film. It probably would have helped if they knew what B-films they were referring to.

“hair-raising beats”

My favorite part of the score. Other director should take notes on how a great score can carry a film and intensify it.

"the most shamelessly ominous, drumming thriller score for a major Hollywood picture made by an A-list filmmaker this side of a Spielberg-John Williams collaboration"

Thank Christ. Thank Christ thought was put into the score and it wasn't an after-thought.

"complementing the foghorn of the vessel in the opening seconds of the film with ascending French horns adorning Ingram Marshall's marvelously piquant and frightening 'Fog Tropes.'"

They did something similar in Conan the Barbarian with the "Wheel of Pain" sequence. The sound of the wheel was integrated into the score.

"Though scoffed at as being excessively melodramatic"

So they would rather the score be in the background, ignored like a step-child (...that was wrong) by Scorsese? Brilliant idea.

Film-Book dot Com said...

"This most increasingly rare celebration of filmmaking finds itself compactly molded into each sequence and sometimes each frame of a Scorsese picture."

There was a character in the last season of The Practice that was so good in the court room that he would actually have fun while defending a client, every client, their lives in his hands. He loved being a lawyer and showing his prowess as Scorsese loves the film genre, the medium and what he can do with it.

“This most increasingly rare celebration of filmmaking finds itself compactly molded into each sequence and sometimes each frame of a Scorsese picture.”

Now I understand the amount of green screen use in the film.


“the viewer may not be entirely wrapped up in the moment of the plot's winding down, but rather note how the lighthouse serves as firstly ominous location, secondly as a tangible goal for the hero's journey narrative, thirdly as a thematic pun, particularly in how the mysteries locked away inside are to shed light on the protagonist's sacred quest and fourthly as the venue in which Scorsese recreates the final climax of Hitchcock's Vertigo, also about a deeply troubled man haunted by guilt and subconscious yearning to spiritually self-immolate while apparently searching for all of the answers of his own entrapping conspiracy”

Now that is a great piece of writing. Very insightful.

“What Scorsese recognizes is that the mind thinks and remembers in cinematic fashion (and to accommodate the haphazardness of the mind, Scorsese fractures the backstory flashback narrative, since, unlike film, memory does not unspool from beginning to end in perfect linear fashion).”

Some people do not even get this. I didn’t even bother to bring you this point in my review. I loved the fact that his demented mind “reengineered” his own memories to protect him.

“each guard is killed in nearly flawless right-to-left order (for the American soldiers). Is this an artistic flurry or commentary on the lack of realism? One of the admittedly enjoyable aspects of Shutter Island is that its plot, characterizations, usage of flashbacks and even the memorable final sequence stir debate and questions as to what is real (in the context of the film, since none of it is actually real, to paraphrase Brian De Palma's editorial on cinema) and most importantly what is intended.”

Its both: Laddis’ altered remembrance and Scorsese’s shooting style. Another director would have pulled back for one big shot where all the guards were killed coterminous. Note the accurate use of coterminous, lol. “He’s learning, he’s learning.” Gordon Gecko, Wallstreet.

“How much of the picture's facade is directly tied to the mechanics of the plot—sometimes rewarding (such as a couple of cute cutaways to a character who's “in on it” all along while being spoken of by a mental patient questioned by another character)”

Ah, the Kearns scene. Oh, excuse me, Ms. Kearns. One of my favorites from the film. I loved when cutaways like that happened, the camera letting you in on the joke.

I haven’t read Lehane's novel yet but I am looking forward to it. I have to read Vonnegut’s Mother Night first.

Film-Book dot Com said...

“The warden's comment that he and Teddy have “known each other for centuries” posits the picture's weightier delineation between violent men on possibly opposing sides. The warden's remarks that the only moral order is, “Can my violence overcome your violence?” ties in with Teddy's earlier statement that the warden looked like an “ex-military prick,” reestablishing the correlation between the role of the military in conditioning men of different times in different wars like Teddy and Travis”

This was one of the scenes I liked the least in the film initially. The more I watched the film, the more it became one of the scenes I looked forward to seeing because of all its buried implications.

“Ben Kingsley as Doctor Cawley is a case of an actor being almost too well-cast in a certain role.’

When does that happen? When an actor is too well cast? An example please.

When Emily Mortimer stood up and began approaching Teddy, I was thinking: “Oh shit. Something is going to go down.” There is no way a ringer like Mortimer would be brought in, except in Spiderman 3, and not fully utilized.

Patricia Clarkson: “You have no friends” Boy was that true even though Kearns did try to give him the heads up.

“DiCaprio's best line of the entire picture is saved for last, and its evident duality plays to the ambiguousness of his condition as the film's running time expires.”

Couldn’t have said it better myself.

“Or is he following an epiphany and pursuing it through a zealous martyr's conviction?”

Look at it outside the context of a Scorcese film (look at the source material) and it becomes clear. Martyrdom.

“The Departed was understandably chided by some as a kind of “leftovers” picture for Scorsese, and his previous two films were deemed by many as vaguely empty lunges at Oscar's approval for decades of great filmmaking (ironically, it was the “leftovers” movie-movie that gifted Scorsese with his long-elusive Oscars for Best Director and Best Picture).”

That was an Oscar crime. The Departed was not even close to as great a directorial achievement as Pan’s Labyrinth. They just gave it to him because Del Toro was a newbie and Scorcese was a vet. CRIME. Plus the original film The Departed was based on was FAR better. That film deserved an Oscar of some kind.

“All of those films, however well-crafted, did not seem to boast much in the way of artistic progression for their creator.’

Unlike Inglourious Basterds for Tarantino.

“even if it comes with the knowledge that it is flawed.”

An understatement.

Film-Book dot Com said...

@the cinema guy

"woefully overrated The Departed "

Are yu kidding m? You really need to watch Infernal Affairs.

"he Boston accents were in that film (DiCaprio's was inconsistent but not awful) they are actually quite solid in Shutter Island, with DiCaprio making big improvements in this area"

I noticed this as well. They did their homework.

@Sam Juliano

"I still consider SHUTTER ISLAND as one of the year's best (and certainly one of the most entertaining) films, sitting alongside UN PROPHETE"

So do I.

the cinema guy said...

Film-book.com,

I wasn't kidding at all. And yes, I saw the original Infernal Affairs 1 a number of years ago, although not sure what that has to do with anything. The Departed used Infernal Affairs as the basis for telling the James Bulger story because they couldn't get/didn't want to purchase the rights to the actual story (despite the four or five books written on the general subject). The superior Infernal Affairs is an action/thriller, though, which is exactly what the Departed is, replete with over-the top, overblown scenes, Irish cliches galore, and an almost total disregard for realism. Despite the fact that screenwriter Monaghan is from Massachusetts, Scorcese is a New York Italian who has no concept of what the true nature of Irish American crime in Boston and apparently nobody cared enough to due any research. There are so many laughable missteps in that area, starting with the fact that Irish criminals have never, ever received "salaries". Scorcese, however, is hell bent on jamming structure gleaned from knowledge of La Cosa Nostra into a criminal faction that never, at any point, suscribed to that way of doing business. And how about the ridiculous gap of logic in a story that places an outsider in a close-knit criminal faction, has a leak occur, and then wants us to believe that there is some question as to who the rat is. Really? Trust me, the real life guys grew up with one another, know each others families, etc. Just not realistic. South Boston is one of the most insular places on earth. Simply put, The Departed was an action film dressed up as a crime drama without a single well-drawn character for an audience member to invest in and care about (unless you count DiCaprio, who is so talented that he's good despite the surface level treatment of the material). Scorcese is one of the greatest American directors of all time, but he stopped making films about real people twenty years ago. The Oscar was given to him for the robberies that occurred in past years (Taxi Driver; Raging Bull, etc.). Lastly, the accents in the film are so bad (with Ray Winstone (attempting Brooklyn circa 1930 maybe?); Alec Baldwin; Martin Sheen being among the worst offenders (Nicholson, in a lazy, self-indulgent performance doesn't even try) as to be embarrassing. Once again, I say without reservation (but with all due respect), in my opinion The Departed is among the most overrated films in the history of American cinema... I'm glad we agree on the better job done on Shutter Island in regard to accent. I was presently surprised. As Mr. Coleman so eloquently illuminated, the film also gives me hope for the possibility that Scorcese might get back to relevant filmmaking, or at least take some more chances with genre reinvention, etc.

Ténèbres à la lumière... said...

Bonjour! Alexander,
Please pardom not pardon my typos in my previous comment, but after rereading yours and the comments that followed I watched Scorsese's Shutter Island again...I'am quite sure there will be subsequent viewing too!

Now, my question to you is this after rereading writer Scott Armstrong's (Scott, writings are featured on my blog occasionally, but I must admit that his writing have not been featured on my blog lately.) summation,
I would like to know do you, share his opinion about
Scorsese's Shutter Island?

(Armstrong's Summation)

Armstrong said,"A far cry from the low-budget, art house flicks of his past, “Shutter Island” has more in common with Hitchcock’s pulpy blend of red-herrings, MacGuffins, deceptive camera movements and audience manipulation. With complete financial security and freedom to create basically anything he wants, it appears Scorsese has taken a cue from Quentin Tarantino and decided to try his hand at elevating the schlock of genre films to the level of legitimate commercial cinema.

This is my first impression of the film: a lot of fun but terribly predictable, overlong, self-indulgent, campy, stiffly acted (with the exception of DiCaprio’s surprisingly nuanced and weighty performance) and painfully clichéd. A serious misstep for the old pro.

This is my current impression of the film: shot beautifully by cinematographer, Robert Richardson, who coincidentally also shot Tarantino’s “Kill Bill” films and “Inglourious Basterds,” Scorsese’s “Shutter Island” is perhaps a little more sophisticated than I initially gave it credit for. Yes, the film’s “twist” is hardly a twist at all since the entire plot was given away in the trailer, but considering Scorsese’s incomparable historical knowledge of film and unmatched talents, it’s hard to believe this amateurish and clichéd predictability wasn’t intentional.

“Shutter Island’s” predictable twist is akin to Hitchcock’s early give-away in his brilliant “Vertigo.” The point isn’t to fool the audience and then shock them; the point is to use the audience’s knowledge to create suspense, which Marty does with masterful precision.

And my initial adverse reaction to the acting neglected to take in to account the actual roles these characters are playing throughout the film.

(****Spoiler Alert****) If you accept the film’s general premise that DiCaprio’s character is, in fact, a patient of the institution and that everyone in the facility is playing along in his fantasy, then of course Mark Ruffalo’s psychiatrist character isn’t going to act like a Federal Marshall and of course the guards are going to be a little on edge and not ring entirely true. I think the entire thing was intentionally setup of to be enjoyed through multiple viewings, which is another reason the twist wasn’t meant to be a twist in the traditional sense.

If “Inglourious Basterds” was Tarantino’s love letter to cinema, “Shutter Island” is Martin Scorsese’s. It’s packed with all the classic elements of the noir, suspense and procedural pictures of Scorsese’s youth. Even the film’s climax recalls the famous bell tower scene in “Vertigo.”

Some have complained about the cheesy green-screen shots of the sea in the first act on the boat. But in reality, all of those scenes were shot on location on a real boat. The staged feel of it was intentional, which further suggests that Scorsese is in complete control of every detail of the production. The effect is an ostensibly derivative suspense picture that ultimately manages to transcend both its influences and its genre to reveal a nuanced and thoughtful entry into Scorsese’s impressive filmography. I should have known better than second-guess our greatest living director."


Merci,
DeeDee ;-D

Film-Book dot Com said...

@ the cinema guy Well put. Excellent. I was commenting that The Departed was not even in the same class as IA and you broke it down in fine form. You pointed out items I was unaware of and also clarified a few. Thx.

I thought you said underrated. After reading the review and writing my comments, I guess I misread your comment. Sorry.

After reading Coleman's review, I understand the visuals in the film better.

the cinema guy said...

Film-book.com,

No worries, my friend. And The Departed was certainly loved by a lot of people, including some critics I respect - something that always makes me question my own opinions. Knowing a bit about the subject matter, I am also a little more sensitive to the failures of the film in regards to location, accent, etc... Again, I too was a fan of IA, which at no time was purported to be anything other than what it was - a fast paced, intense, crime thriller. CG.

George said...

This is the most beautifully written review I ever saw, but on the other hand there is way to much enrobage, but your style makes you unique and I respect your writing talent.

truly yours

George Goodspeed
www.reviewmovieblog.com

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Thiên Địa Hào Kiệt said...

Brilliant piece. From the first sentence on I couldn't sotp reading it. Outdone yourself again Coleman.
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Hi! Alexander Coleman,
Glad to see you back and in good "writing" form -- Alexander, I will return later and read your review and comment on the film Shutter Island.
DeeDee ;-D
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Hi! Alexander Coleman,
Glad to see you back and in good "writing" form --
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Hi! Alexander Coleman,
Glad to see you back and in good "writing" form -- Alexander, I will return later and read your review and comment on the film Shutter Island
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Fiberglass and epoxy are used to glue the panels permanently. The technique works well with multi-chined and hard-chined designs. The aforementioned techniques describe the preparation of homemade kayaks.
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Since time immemorial, this medicine has been used by native Americans for its blessed medicinal properties. The use of this herb for the treatment of headache, fever, indigestion and infertility is common practice in North America. Ginsenosides in ginseng are said to impart medicinal properties to ginseng.
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Ginseng is still not used as a medicine to treat diabetes, and you should thus seek an expert's opinion on using the herb for diabetes. This is because, the effectiveness of the herb depends on its dosage, which is generally in milligrams. And does American ginseng help counter other symptoms of diabetes?
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American ginseng is still not used as conventional medicine to treat diabetes and so diabetic patients are advised not to take ginseng along with their regular medicines and they should, in fact, consult their physician before taking ginseng capsules to regulate the insulin and blood sugar level.
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When a person is suffering from diabetes, the glucose does not get absorbed into the cells and remains in the blood. This condition has a damaging effect on the cells of the body where the glucose is badly needed for the fuel purpose. If it is left uncontrolled, then the damage is not just confined to the cells of the body but will affect some of the vital organs of the body as well that include kidneys and lungs.
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Regular Exercising
Exercising for 20-30 minutes a day is necessary for natural control of diabetes. This kind of physical activity also reduce the chances of other health complications like heart disease and kidney problems in diabetic patients. You can select nay kind of aerobic exercise that you like. Simply, a brisk walking is also good for your health. If everyday exercising is not possible, then make sure you do it at least three times in a week
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But if shortening or hydrogenated oils and added sweeteners are used, the calories can increase.
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They proved to be very wet and could not be worked in heavy seas.[7] At an elevation of 15°, they had a maximum range of 14,050 yards (12,850 m).[8] Each gun was provided with 230 rounds of ammunition.[3] The ship mounted four 50-caliber three-inch guns for anti-aircraft defense, although only two were fitted when completed. The other pair were added shortly afterward on top of Turret III.[9] Arizona also mounted two 21-inch (533 mm) torpedo tubes and carried 24 torpedoes for them.
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Highly energetic chemistry is believed to have produced a self-replicating molecule around 4 billion years ago and half a billion years later the last common ancestor of all life existed.[45] The development of photosynthesis allowed the Sun's energy to be harvested directly by life forms; the resultant oxygen accumulated in the atmosphere and formed a layer of ozone (a form of molecular oxygen [O3]) in the upper atmosphere. The incorporation of smaller cells within larger ones resulted in the development of complex cells called eukaryotes.[46] True multicellular organisms formed as cells within colonies became increasingly specialized. Aided by the absorption of harmful ultraviolet radiation by the ozone layer, life colonized the surface of Earth.
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Several lines of evidence point to ongoing volcanic activity on Venus. During the Soviet Venera program, the Venera 11 and Venera 12 probes detected a constant stream of lightning, and Venera 12 recorded a powerful clap of thunder soon after it landed. The European Space Agency's Venus Express recorded abundant lightning in the high atmosphere.[32] While rainfall drives thunderstorms on Earth, there is no rainfall on the surface of Venus (though it does rain sulfuric acid in the upper atmosphere that evaporates around 25 km above the surface).
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Earth's crust is in continuous motion, but it is thought that Venus cannot sustain such a process. Without plate tectonics to dissipate heat from its mantle, Venus instead undergoes a cyclical process in which mantle temperatures rise until they reach a critical level that weakens the crust. Then, over a period of about 100 million years, subduction occurs on an enormous scale, completely recycling the crust.
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Thermal inertia and the transfer of heat by winds in the lower atmosphere mean that the temperature of the Venusian surface does not vary significantly between the night and day sides, despite the planet's extremely slow rotation. Winds at the surface are slow, moving at a few kilometers per hour, but because of the high density of the atmosphere at the Venusian surface, they exert a significant amount of force against obstructions, and transport dust and small stones across the surface. This alone would make it difficult for a human to walk through, even if the heat and lack of oxygen were not a problem.
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Although there is some heat loss due to thermal conduction through the glass and other building materials, there is a net increase in energy (and therefore temperature) inside the greenhouse.
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In 1583, Sir Humphrey Gilbert claimed St. John's, Newfoundland, as the first North American English colony by the royal prerogative of Queen Elizabeth I.[36] French explorer Samuel de Champlain arrived in 1603, and established the first permanent European settlements at Port Royal in 1605 and Quebec City in 1608. Among the French colonists of New France, Canadiens extensively settled the Saint Lawrence River valley and Acadians settled the present-day Maritimes, while fur traders and Catholic missionaries explored the Great Lakes, Hudson Bay, and the Mississippi watershed to Louisiana.
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Like all other herbal teas, artichoke tea also helps in strengthening the body's immune system so that it can fight infections and diseases in a better way.
It can prevent infections of the gall bladder, kidneys, and the liver because it said to have anti-bacterial and anti-inflammatory properties.
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People who are advised to limit or avoid caffeine usually have to cut down on tea and coffee. Such people can safely enjoy this beverage as it does not contain caffeine.
It is great for people who are obese or are looking forward to lose weight. This is because, artichokes are considered to promote weight loss by reducing excess body fat.
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Hals said...

Method #1: When cooking artichokes, people often tend to discard its thorny leaves. However, these leaves are in fact full of nutrition. To make use of these discarded leaves, boil 2 cups of water and add 12-15 of them and let it boil for 5 minutes. Strain the liquid in a cup and drink it twice a day to stay fit and healthy.

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For those who do not want to take the effort of making the tea at home, artichoke tea bags are available in the market which can be used. Tea bags must be dipped in a cup of hot water for about 5 minutes to get the beverage ready to drink. Markets are flooded with several brands of artichoke tea. It is always better to buy one of good quality in order to reap all its benefits.
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He wrote a very brief diary, every day just about a few sentences, sometimes a few words about not

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On it, as we sat on the sofa watching a movie at Han wet, when Yoochun tears brimming his children before rolling over are hypersensitive of his, I do not earn a new question: "The moc movement, no longer a non-hyung? ".
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A humidifier, more specifically an ultrasound humidifier, is commonly used in many households to maintain the relative humidity of a room or the entire house somewhere between 30% - 50%.
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As clumsy as you've been
There's no one laughing
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Try and shrug it off
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what happens outside the room. Door does not open, but the window is one-way glass. While cleaning Jaejoong rushed outside, something inside him remember Pop and his eyes around the room.
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Except for one thing, Jaejoong's diary. News on the book, the diary, it's time he was in high school. Now no longer write, he can not imagine if people like Jaejoong wrote a diary.
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Yunho did not even stand up, still sitting in his seat and looked up. Which the eye. Jaejoong frowned. What happened? Before his eyes was used
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Shower water is flowing, people do not know because cold water flowing or because I was really scared. I just know, you sit there for hours, shaking. As he sat behind me, still say something is not clear, and constantly kissing my neck.
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He did not like that. He never said he loved. He never said he liked. He also never said that he wanted to open his mouth. He does not confess a question. He only requires one thing
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The flushing him, really unpleasant. It seems you again soon so that fever. The hot that he stripped off and just want to jump into the shower. You did not do so, he has just cause for him burns, burns really not certain, but it is clear he is hurt.
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GameforYou said...

Oh? This is new to me. I do not know about it. You did very well. Wish you a nice day.
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In the early 1960s, a relatively new chronic lung disease was being observed and described by physicians in Japan. In 1969,[27] the name "diffuse panbronchiolitis" was introduced to distinguish it from chronic bronchitis, emphysema, alveolitis, and other obstructive lung disease with inflammation. Between 1978 and 1980, results of a nation-wide survey initiated by the Ministry of Health and Welfare of Japan revealed more than 1,000 probable cases of DPB, with 82 histologically confirmed. By the 1980s, it was internationally recognized as a distinct disease of the lungs.
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Little doubt, the dude is totally just.
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was beating fast and hard as possible drop-out at any time, and everything before his eyes every now only his image. He wants to kiss other lips, tongue to swallow after wet lips hidden prankster always
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Happy to see a weighty treatment of the underrated Shutter Island, a film I found flawed yet oddly invigorating. It's as though Scorsese found the freedom to really express himself and experiment a bit within the confines of a genre picture.

I've been meaning to rewatch this one, but still haven't gotten around to it.

Anyway, welcome back Alexander.

nguyen said...

Mr. Coleman,

Wonderful to see you back here and writing another superb essay... I happen to agree with your take in full. I am absolutely not a fan of Scorcese's work post Casino, but actually found Shutter Island to be shockingly different from the action cartoons passing as crime and historical dramas or the "big", empty-headed biopics that have marked some of his recent work... You make so many wonderful points and referneces here that I won't even try to point them all out...
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Uno said...

Yah! This baby boy scoundrel ...... not obedient at all! Jaejoong sticks xi angry when the boy he picked up a month ago to come home with some bruises on the body.
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GameforYou said...

This is an amazing blog. Though I am not on the trip, I feel I am learning so much looking at the pictures and reading the summary of each day and the comments posted. I see how this trip truly is a life changing experience. May the memories help all of you in the lives you live.
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simson11 said...

We really love your blog, i haven't seen you keeping the posts in in some time now. Is everything ok.
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He did not have much time to take care of him every lunch, dinner or sit forum for you, the most needed he can think of now is that they need a large amount of money for his medication months.
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The sperm and ovum don't contain 23 pairs, but 23 individual chromosomes. A person suffers from Down syndrome when chromosome pair number 21 contains 3 chromosomes instead of 2 (a total of 47 instead of 46).
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The burning him every tree that makes air as his body lurched. He never used the word 'pain' to describe my feelings, but he almost completely paralyzed. Pain that we can not
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Do not begin stretching exercises before warming up your muscles. Brisk walking, jogging, cardiovascular exercises etc., help warming up your muscles. Exerting cold muscles may invite an injury.
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night sweatscatlak kremiHerbal teas are known to promote good health. Artichoke tea, being one of this kind, is known to have many benefits apart from being a great beverage to sip on. This write-up is about various health benefits of artichoke tea.

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Patients with pericardial effusion may or may not show any symptoms. If the fluid accumulates slowly, the patient may not experience any signs or symptoms, but if it accumulates pretty fast, one or more of the following symptoms are observed.

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The first step towards diagnosing this problem is a general medical examination by a doctor. The doctor listens to the heartbeat of the patient by the help of a stethoscope. An abnormal high-pitched sound can be heard by the doctor if the heart is surrounded by fluid.
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No one dared to repeat the story he used to run other people and he is still missing, imposing as before, and Jae then ceded all authority back to him. All this happened just as he had promised ...
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